Stephen Bennett

An interview with Stephen Bennett  ‘SuperPortrait’ Painter.

 

"I call my paintings SuperPortraits because by the time they are finished they have a life of their own, an inner movement."

Stephen Bennett is an American portrait painter. He has traveled to over 30 countries for the past two decades and seeks out indigenous people to capture their soulful faces, cultural adornments and rituals, through colorful paintings on a grand scale, many being 7x5 feet.

His use of colours exerts a fascinating effect on the viewer, alongside the resemblance with the subjects painted. Stephen’s aim is to be faithful to the reality he sees, to people’s inner beauty and the great variety of sources behind it all. He attaches particular importance to cultural pride and cultural identity which comes through our family connections: ‘If you are aware of your identity  it gives you a strength in knowing who you are, so when you go out in the world you are confident. You know where you came from, you know what you are doing, you know who your mother and father were, you know what you believe: this gives you confidence, it gives you courage to pursue whatever you are trying to do, it gives you a role’.

 

• Do you perceive people differently according to their geographical situation or culture?

   

  Yes, everyone is unique. Every person is influenced by their culture and surroundings. My non-profit Faces of the World, Inc encourages the expression of a local culture in a school or community environment. Cultural pride gives identity and confidence and permits these peoples to thrive.  For those who are searching to answer the question ‘who am I?’ this pride gives the cultures’ youth an identity.

   

• If yes, do you need to overcome this in order to ‘create your space’ as their painter?

   

  No, there is nothing to overcome. I feel comfortable in these environments and find it easy to adjust.

   

• Looking at your early works (and especially self-portraits), some present interesting features such as geometrical lines or flora. Your attraction for colors is always manifested and it is obvious that you use them as part of your pictorial language; have you ever considered painting other parts of the body such as hands, bust or a person as a whole?

   

  No, because the identity or personality of the subject is concentrated in the face. I am looking to make a connection between a personality and individual. 

   

• It is said (in your site) that you mix your own pigments yourself; is this to allow you a greater margin for colors, better paint quality, and/or also because it is part of the creative process?

   

  I mix my own paints because I have not found a commercial grade paint that is equal in quality to what I can make. I am searching for the most brilliant colors I can achieve. Guerra paint is the company I used and they provide all of the ingredients to make the most intense colors I have ever seen.

   

• Do you know how came your fascination for faces? Funnily enough, Modigliani who will represent the main feature for this issue was also (in a very different approach), a portrait painter. Can you tell me if you have been influenced by one or several painters in the style you have adopted, or which painter you admire, may it be modern, contemporary or classical.

   

  I became fascinated with painting faces because of a strong desire to capture a likeness and a personality in an image. I worked alone in my studio for many years before portraits were my focus. The highlights of this time were when my friends came and posed for portraits. The process of making the portrait and the fellowship created between myself and the subject gave me great satisfaction. I admire artists who are risk takers and innovators. I was strongly influenced by Paul Gauguin because he took risks in his life and his work. He created art that was radically unique and very expressive of his experiences and personality. I also became enthralled with his voyages and experiences in Polynesia. I followed in his footsteps and even met his great granddaughter, Mette Gauguin in Hiva Oa, Marquesas Islands. She has a strong passion for bingo!

   

 

• I understand that you endeavor to communicate through your works the personality (amongst other things) of men, women and children of all nationalities, giving priority to their inner beauty; what make you choose a face rather than another?

      

      First of all the choice comes from the simple necessity of capturing them in film. The lighting has to be correct and my rapport with them has

      to be complete. My camera has to work correctly and then I must return safely with the film. I still shoot my photos for paintings with print

      film. The grain of film is more natural to paint from than digital. While shooting I am looking for subjects who I can befriend and who

      represent their culture. I have to choose a subject that I have had a strong experience with because it requires me to spend from two

      months to a year painting them. Without this strong connection it is difficult to maintain the intensity and energy to complete the painting

    . Many of the subjects become my friends. It is easy to paint a friend because of the good feelings you share. Sometimes I choose a stranger

      because of the intensity of their demeanor, adornments, or their strong representation of their culture.

 

 

• What is your next travel project?

   

  In the late summer of 2013 I will be exhibiting in southern China and then plan to travel to see the highland people of Vietnam and Burma/Myanmar. These are two countries I have never visited before. I am especially excited to visit the Naga people of Burma and the Bahnar people of Vietnam.

 

 

• Do these experiences make you feel a different type of artist?

   

  I am following my bliss as I was taught by Joseph Canvel. I find I am different in many ways but also very common.

   

• Is ‘Promoting tolerance’ difficult at times even through painting? Do you think your paintings may serve as a ‘softener’ to intolerance?

   

  I hope so. I have seen many beautiful things as a result of my art. I have seen people learn to appreciate each other and become passionate about learning more about the people in my paintings. I think in some cases I help others overcome their fears and break down negative stereo types.

   

• ‘Portraits of the World’ allows to the painter you are fantastic expressivity where face ornaments proper to some rites and cultures are concerned. Do you find that painting occidental faces actually gives less freedom at times?

 

     There is so much diversity that I have a choice to paint a lip plated Mursi woman from Ethiopia or a Druze Israeli Man wearing his colorful

     cap. I feel liberated and in awe knowing that the options are vast.

 

• Please tell us about another dream of yours.

 

     I dream of creating a cultural center that will provide an outlet for an indigenous community through the arts. I am presently working on a

     business plan and searching for investors to create a center in French Polynesia. One of the center’s main focuses would be to empower,

     celebrate, and provide exposure to both local and worldwide culture.

 

• If there is anything you would like to share with L-Artiste’s reader which you consider omitted here, please do not hesitate.

 

     The most important message that I can send is that wherever you go in the world your expectations will create your experience by one

     hundred percent. It is important to believe that you are safe and all people are good. Wherever you go all you need will be provided. This

     has been my experience whether travelling in the jungles of Papua New Guinea or the streets of New York City.